when i know you will too

astoria

Asaurus Records (2003)

no album artwork available at this time

review by Bill Binkelman

Here is a brilliant exploration of beautiful drone and minimal ambient music from Sean O'Neill, who records as "when i know you will too." Imaginatively packaged in a paper sleeve (no jewel case whatsoever except for a mylar flap-envelope) and graced with a highly evocative cover photograph (depicting a river's eye view of Budapest taken in a thick fog), astoria is a totally immersive experience that, as far as I'm concerned, works better under direct listening than as background sonic wallpaper (however, it's intriguing in that regard as well). I offer that comment because O'Neill does amazing things with texture in his music. The opening track, "mter" blends swelling and subsiding drones with bell-tones that reverberate deliciously. Emotionally neutral, the music reminded me of the more minimal selections from Selected Ambient Works, Vol II (Aphex Twin). It's a great beginning to this surprisingly engaging and warm ambient release.

Track length on astoria varies from two and a half to twelve and half minutes, which is one of two variances from the norm for drone/minimal recordings (the other being the lack of overt darkness on the CD). "no further than what's in front of you" is just so damn beautiful. Warm echoed bells of many different timbres bounce off each other arrhythmically, as if hung out in a gentle rainstorm so that each bell is struck at random. "yr3" opens with an upper register church organ-like chord that slowly builds in intensity, but never to the point of distraction. As it emerges from its own shadow, the chord becomes clearer and "lighter" (it begins by sounding almost murky). On headphones, you'll become aware of other organ textures coalescing and then breaking apart in the background, as each distinct sound subsides and then resurfaces. While technically this could be described as a "drone" it almost approaches the feel of sacred music, since the church organ sound is so prevelant.

Other tracks on this great album include the pleasantly "fractured" electronic spacy musings of "stac&rcd" in which swirls of organ-like soundscapes surround overt electronic whirrings; the slightly dissonant and experimental "bel fin" (which might remind you of the soundtracks to Forbidden Planet or The Andromeda Strain); the soothing twinkling ambience of the "3428279, with its myriad bells and floating analog-ish keyboards; and the closing song, "golden line," one of my favorites here, which features what sounds like plucked ambient guitar set against warm drones and miniscule shining droplets of electronic rain, eliciting a strong sensation of both moisture and expanses of deep space.

I'm thoroughly impressed with Sean O'Neil. astoria will be, in all likelihood, near or at the top of my favorite recordings of 2003. Just as the cover art is mysterious and shadowy without giving any impression of dread or fear, the music on this CD is beautiful yet whispy, minimal yet inviting and full of feeling. It's one of the stronger debuts I've heard this year and one of the best drone/minimal ambient recordings in recent memory. Highly recommended.